Bryan Adams – Waking Up The Neighbours (1991)

FrontCover1.jpgWaking Up the Neighbours is the sixth studio album by Canadian singer-songwriter Bryan Adams, released on 24 September 1991. The album was recorded at Battery Studios in London, and at The Warehouse Studio in Vancouver, mixed at Mayfair Studios in London, and mastered by Bob Ludwig at Masterdisk in New York City. The album reached the number one position on the album charts of at least eight countries. Its first single, “(Everything I Do) I Do It for You” was number 1 on the British charts for a record sixteen weeks. The album sold more than 16 million copies worldwide.

The album was recorded at Battery Studios in England and the Warehouse Studios in Canada. Recording began in March 1990, and along with mixing, finished in June 1991. Robert John “Mutt” Lange, previously known for his work with AC/DC, Foreigner, and Def Leppard, was helping Adams writing the songs for his next album. Adams spent much of his time in Hindhead and London, England with Lange working on his sixth album.

“(Everything I Do) I Do It for You” was the most successful single off the album, and has become one of the most successful songs of all time, having spent seven weeks at number one in the United States’ Billboard Hot 100, sixteen consecutive weeks at Bryan Adams1number 1 on the UK Singles Chart, eleven weeks on the Dutch Top 40 and nine weeks at number 1 on the Canadian singles chart in Canada. The song won a Grammy Award for Best Song Written Specifically for a Motion Picture or Television at the 1992 Grammy Awards, and was nominated for an Academy Award for Best Song of 1991.

The song came about when Adams was approached to write something by the producers of the then-upcoming Kevin Costner film, Robin Hood: Prince of Thieves, and was asked to work on a theme song. He was provided a tape of orchestration written by the composer of the film score, Michael Kamen. With this, he and Lange used a section of Michael’s orchestration and created “(Everything I Do) I Do It for You”, which was then placed deep into the closing credits of the film when it opened on June 14, 1991. The song went to number 1 in the United Kingdom the week before the film’s British release and went on to top the charts in 16 countries and sold over 10 million copies worldwide, becoming one of the biggest selling singles of all time.[8] The song was nominated for an Academy Award but won a Grammy Award for Best Song from a Motion Picture. Years later when the BBC asked Bryan (about the recent acoustic live version from his Bare Bones CD), “Do you ever get bored of hearing your record-breaking hit ‘Everything I Do’?” Bryan said “Of course not. What a silly question.”

“Can’t Stop This Thing We Started” was the second single from the album. A rock song in contrast to “(Everything I Do) I Do It for You”, it peaked at #2 on the Billboard Hot 100 behind Prince’s “Cream”. “Can’t Stop This Thing We Started” received two nominations at the Grammy Awards of 1992 for Best Rock Song and Best Rock Performance, Solo, winning none.

Singles

“There Will Never Be Another Tonight” was the third single from the album. The title came from a fragment Bryan Adams and Jim Vallance wrote in late 1980s. The phrase was written into the song in the end of 1990 and released on Adams’ album in 1991.

“Thought I’d Died and Gone to Heaven” was the fourth single released from Waking up the Neighbours. Written by Mutt Lange and Bryan Adams the song was the first song written for the album. “Thought I’d Died and Gone to Heaven” reached #13 on the Billboard Hot 100 and #14 on the Mainstream Rock Tracks. In the UK, it reached #8.

“All I Want Is You”, “Do I Have to Say the Words?” (#11 on the Billboard Hot 100) and “Touch the Hand” were also released as singles but didn’t get the heavy rotation as the first four singles released.

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Waking Up the Neighbours was co-produced by Adams and Mutt Lange, and peaked at number six on the Billboard 200. The album was released in September 1991 and album and single topped the charts in many countries with “(Everything I Do) I Do It for You” spending record-breaking 16 weeks at number one on UK Singles Chart and topped the charts in 17 countries. It also made record-breaking sales of 4 million copies in the US.[18] Canadian content regulations were revised in 1991 to allow radio stations to credit airplay of this album towards their legal requirements to play Canadian music. The album has become Adams second best-selling album worldwide. Adams won a Grammy Award in 1992 for Best Song Written Specifically for a Motion Picture or Television for “(Everything I Do) I Do It for You”. (by wikipedia)

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Although not as good as Reckless, Bryan Adams’ 1991 album, Waking up the Neighbours, signaled his commercial apex. Bridging the time gap between ’80s arena rock and ’90s angst-ridden grunge, the album also ushered in an era in which Adams became more known for his sweeping power ballads than his straight-ahead rock tunes. This album, filled with nearly 75 minutes of showstopping arena rockers and mid-tempo ballads, churned out no less than five hit singles, the most notable being the Robin Hood Prince of Thieves theme “(Everything I Do) I Do It for You.” That ballad spent seven weeks atop the U.S. pop charts, becoming the longest-reigning American chart-topper since Prince’s “When Doves Cry” seven years earlier. The song also became a phenomenon in Europe, becoming Adams’ biggest hit ever.

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Other singles which followed included the joyous rocker “Can’t Stop This Thing We Started,” which became a number two hit, the mid-tempo ballads “Do I Have to Say the Words” and “Thought I’d Died and Gone to Heaven,” and the fun, straight-ahead rocker “There Will Never Be Another Tonight.” Waking up the Neighbours was co-produced by Robert Jon “Mutt” Lange, and as a result, many of these songs sound as though they could have easily been Def Leppard recordings, especially “All I Want Is You,” which sounds like “Pour Some Sugar on Me” part two. Nonetheless, Waking up the Neighbours is a fun album and perfect for those who expect nothing more than an old-fashioned good time from their rock & roll. (by Jose F. Promis)

Oh yes … Bryan Adams knows how to rock … listen and enjoy the power of Bryan Adams !

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Personnel:
Bryan Adams (vocals. guitar)
Mickey Curry (drums)
Tommy Mandel (organ)
Keith Scott (guitar)
Dave Taylor (bass)
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Robbie King (organ)
Larry Klein (bass)
Phil Nicholas (keyboards, programming)
Bill Payne (keyboards)
Ed Shearmur (keyboards)
The Tuck Back Twins (background vocals)

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Tracklist:
01. Is Your Mama Gonna Miss Ya? (Adams/Lange) 4.40
02. Hey Honey – I’m Packin’ You In (Adams/Lange/Russell/Scott 3.59
03. Can’t Stop This Thing We Started (Adams/Lange) 4.29
04. Thought I’d Died And Gone To Heaven (Adams/Lange) 5.48
05. Not Guilty (Adams/Lange) 4.12
06. Vanishing (Adams/Lange) 5.03
07. House Arrest (Adams/Lange/Vallance) 3.57
08. Do I Have To Say The Words? (Adams/Lange/Vallance) 6.11
09. There Will Never Be Another Tonight (Adams/Lange/Vallance) 4.40
10. All I Want Is You (Adams/Lange) 5.20
11. Depend On Me (Adams/Lange/Vallance) 5.07
12. (Everything I Do) I Do It for You (Adams/Lange/Kamen) 6.34
13. If You Wanna Leave Me (Can I Come Too?) (Adams/Lange) 4.43
14. Touch The Hand (Adams/Lange) 4.05
15. Don’t Drop That Bomb On Me (Adams/Lange) 6.02

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Wayne Kramer – Death Tongue (1991)

FrontCover1As one component of the legendary MC5, guitarist Wayne Kramer helped create the soundtrack for a revolution that never came — but not for lack of trying. With its proto-metal-cum-free-jazz-scree rock’n’roll, the Five gave voice to the dope, guns and fucking in the streets discourse that exploded from Detroit, homebase of the radical White Panther organization for which they served as de facto house band. When the MC5 sank into a morass of drug abuse and lethargy after adviser John Sinclair was sent to prison on drug possession charges (a predicament that befell the guitarist a decade or so later), Kramer went into semi-retirement.

The counter-counterculture agitator re-emerged around 1980 to join Johnny Thunders in Gang War, a dead-end partnership documented only on a ten-years-after album of live tracks and studio scraps. Collaboration with writer/ex-Deviant Mick Farren proved far more successful. Following a mid-’80s live album as the resurrected Deviants, the pair created “an R&B musical,” Who Shot You Dutch?, which flourished in live performance in New York for a good while; musically, the songs documented on the 12-inch hold up today.

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With Farren and New York scene vet John Collins (guitar/vocals) billed and pictured on the cover, Death Tongue is a literal continuation of that project. “Who Shot You Dutch?” appears on the ten-track CD, along with a ludicrous put-on version of “MacArthur Park” and originals written by various permutations of the trio. Cheap production and dime-store drumming keep Death Tongue in the margins, but the down-in-the-mouth rockers (“Spend the Rent”), resistible come-ons (“Take Your Clothes Off”), angry missives (“Negative Girls”), poignant reflection (“The Scars Never Show”) and the cheery MC5-like riptide of “Fun in the Final Days” do limber Kramer up for his next major campaign. (Farren and Collins, meanwhile, continued on as Tijuana Bible.) (by Trouser Press)

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Personnel:
John Collins (vocals, guitar)
Mick Farren (vocals)
Wayne Kramer (guitar, bass, vocals)
Sgt. Jeff McGowan (piano, synthesizer)
Ed Steinberg (drums)
Sgt. Herman Wright (saxophone)
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background vocals:
Ellard Boles – Hank Bones – Sherryl Marshall

on “Who Shot You Dutch”:
Ellard Boles (bass)
Charlie Giordano (keyboards)
Wayne Kramer (guitar, vocals)
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vocals:
Dave Diario – Ellard Boles – Henry Beck – Ina May Wool – Sherryl Marshall

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Tracklist:
01. Take Your Clothes Off (Collins/Farren/Kramer) 3.26
02. Spike Heels (Collins/Farren/Kramer) 4.03
03.  Spend The Rent (Collins/Farren/Kramer) 4.43
04. Negative Girls (Kramer) 4.38
05. Death Tongue (Collins/Farren/Kramer) 5.13
06. Leatherskull (Farren/Kramer) 4.45
07. The Scars Never Show (Collins/Farren) 4.42
08. MacArthur Park (Webb) 5.16
09. Fun In The Final Days (Collins/Farren/Kramer) 3.31
10. Who Shot You Dutch (Farren/Kramer) 6.21

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Wayne Kramer

Wind Machine – Voices In The Wind (1991)

FrontCover1.jpgSince its inception in 1986, Wind Machine has excelled at creating guitar-based music that dabbles in styles ranging from blues and bluegrass to jazz, rock, and new-age atmospherics. Core members Steve Mesple, Joe Scott, and Blake Eberhard utilize a vast arsenal of instruments ranging from mandolin, dobro, banjo, and some of their own guitar-hybrid inventions to trombone, harmonica, and fretless bass. (by Linda Kohanov)

Silver Wave was the place in the early ’90s for artists whose music was a little light to be jazz, but a bit too interesting to be new age. After wonderful efforts that year by Peter Kater and Steve Haun, another Colorado band hit the melodic mark in the form of Wind Machine. Voices in the Wind is smooth and delectable if hardly challenging, and the most remarkable thing is that the least impressive aspect of the guitar driven ensemble is the guitar work. More remarkable are the keyboard and bass solos. Acoustic and electric guitarist Steve Mesple is a fine composer, though he tends to play it safe, and his son Taylor’s acoustic work gives the disc atmosphere, while Michael Olson’s fluid basslines provide some moodiness. Rounding out the Mesple family affair is second son Ethan with the unobtrusive percussion. (by Jonathan Widran)

Last week my mother-in-law passed away, today I have to go the funeral … this is the perfect soundtrack for this event.

Wind Machine

Personnel:
Ethan Mesple (percussion)
Steve Mesplé (guitar, vocals)
Taylor Mesple (keyboards, saxophone, vocals)
Michael Olson (bass, vocals)
Joe Scott (guitar, guitjo, vocals)
Larry Thompson (drums)
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Blake Eberhard (bass)
Greg Fisher (vocals)
Franklin Quezada (vocals)

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Tracklist:
01. Voices In The Wind (T.Mesple/S.Mesplé) 5.59
02. Millwood Junction (S.Mesplé) 4.20
03. River Of Lost Souls (S.Mesplé) 5.30
04. After The Storm (S.Mesplé) 4.43
05. Franklin (S.Mesplé) 5.47
06. Our Salvadoran Brothers (Nuetros Hermanos de el Salvador) (S.Mesplé) 4.06
07. Cottonwood (S.Mesplé) 5.11
08. Sixth Sense (S.Mesplé) 5.10
09. Sunset Crossing (S.Mesplé) 5.32
10. Highway To The Sun (S.Mesplé) 4.39
11. Postscript (S.Mesplé) 4.52
12.  Soldiers Of Destiny (S.Mesplé) 4.42

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Helen Merrill – Live At The Château Beychevelle (1991)

FrontCover1.jpgHelen Merrill (born Jelena Ana Milcetic July 21, 1930) is an American jazz vocalist. Her first album, the eponymous 1955 release Helen Merrill, was an immediate success and associated her with the first generation of bebop jazz musicians. After a prolific 1950s and ’60s when she recorded with Charlie Parker and Clifford Brown, Merrill spent time recording and touring in Europe and Japan, falling into obscurity in the United States. In the 1980s and ’90s, a contract with Verve Records and high-profile performances in America returned her to prominence. Noted for her emotional, sensual vocal performances, her career continues in its sixth decade with concerts and recordings.

Jelena Ana Milcetic was born in New York City in 1930 to Croatian immigrant parents. She began singing in jazz clubs in the Bronx in 1944 when she was fourteen. By the time she was sixteen, Merrill had taken up music full-time. In 1952, Merrill made her recording debut when she was asked to sing “A Cigarette For Company” with the Earl Hines Band; the song was released on the D’Oro label, created specifically to record Hines’ band with Merrill. Etta Jones  was in Hines’ band at the time and she too sang on this session, which was reissued on the Xanadu label in 1985. At this time Merrill was married to musician Aaron Sachs. They divorced in 1956.

Helen Merrill01Merrill was signed by Mercury Records to their EmArcy label. In 1954, Merrill recorded her first LP, an eponymous record featuring trumpeter Clifford Brown[9] and bassist Oscar Pettiford. The album was produced and arranged by Quincy Jones, who was twenty-one years old. The success of Helen Merrill prompted Mercury to sign her for an additional four-album contract.

Merrill’s follow-up to Helen Merrill was the 1956 LP, Dream of You, which was produced and arranged by arranger and pianist Gil Evans. His arrangements for Merrill laid the foundation for his work with Miles Davis.

After recording sporadically through the late 1950s and 1960s, Merrill spent much of her time touring Europe, where she enjoyed more commercial success than she had in the United States. She settled for a time in Italy, recording an album there and doing concerts with jazz musicians Piero Umiliani, Chet Baker, Romano Mussolini, and Stan Getz. In 1960 arranger and composer Ennio Morricone, noted for his film scores, worked with Merrill on an EP, Helen Merrill Sings Italian Songs, on the RCA Italiana label.

Parole e Musica: Words and Music was recorded in Italy with Umiliani’s orchestra in the early 1960s while Merrill was living there. The LP features the unusual additions preceding each song, of spoken translations of eloquent Italian word lyrics, complementing the ballads and torch songs.

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She returned to the U.S. in the 1960s, but moved to Japan in 1966, staying after touring there and marrying Donald J. Brydon (of United Press International) in April 1967. She developed a following in Japan that remains strong to this day. In addition to recording while in Japan, Merrill became involved in other aspects of the music industry, producing albums for Trio Records  and co-hosting a show on FEN (Armed Forces Radio and Television Service) with Bud Widom in Tokyo.

Merrill returned to the U.S. in 1972. She recorded a bossa nova album, a Christmas album, and a Rodgers and Hammerstein album. In 1987, she and Gil Evans recorded fresh arrangements of Dream of You released under the title Collaboration, becoming the most critically acclaimed of Merrill’s albums in the 1980s.

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In 1987 she co-produced Billy Eckstine Sings with Benny Carter. In 1995 she recorded Brownie: Homage to Clifford Brown. Jelena Ana Milcetic a.k.a. Helen Merrill (2000) draws from her Croatian heritage as well as her American upbringing. The album combines jazz, pop, and blues songs with traditional Croatian songs sung in Croatian. She released the album Lilac Wine in 2003.

Merrill has been married three times, first to musician Aaron Sachs, second to UPI vice president Donald J. Brydon, and third to arranger-conductor Torrie Zito.

She has one child from her first marriage, known professionally as Alan Merrill, who is a singer and songwriter who wrote and recorded the original (1975) version of the rock classic “I Love Rock N Roll” as lead vocalist of the British band Arrows. (by wikipedia)

And here´s a nive,very intimate concert from 1991 with a lot of classics from the golden days of Jazz  … what a great Lady of Jazz !

Recorded live at the Château Beychevelle, Saint-Julien-Beychevelle, France; May 25, 1991. Very good FM broadcast.

Gordon Beck

Personnel:
Gordon Beck (piano)
Helen Merrill (vocals)

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Tracklist:
01. My Favorite Things (Rodgers/Hammerstein II) 3.56
02. When Lights Are Low (Carter/Williams) 3.43
03. 
Time After Time (Cahn/Styne) 5.24
04. 
Just Friends (Klenner/Lewis) 3.17
05. 
Summertime (Gershwin/Heyward) 4.30
06. 
When I Look In Your Eyes (Bricusse) 7.23
07. 
What Is This Thing Called Love? (Porter) 3.27
08. 
Bill (Beck) 5.50
09. 
You’d Be So Nice To Come Home To (Porter) 3.49
10. 
The Thrill Is Gone (Brown/Henderson) 3.34
11. 
Come Rain Or Come Shine (Arlen/Mercer) 3.07
12. 
I Love Paris (Porter) 4.53

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Henry Vestine – Guitar Gangster (1991)

FrontCover1.jpgHenry Charles Vestine (December 25, 1944 – October 20, 1997) a.k.a. “The Sunflower”, was an American guitar player known mainly as a member of the band Canned Heat. He was with the group from its start in 1966 to July 1969. In later years he played in local bands but occasionally returned to Canned Heat for a few tours and recordings.

In 2003 Vestine was ranked 77th in Rolling Stone magazine list of the “100 Greatest Guitarists of All Time”.

Born in Takoma Park, Maryland, Vestine was the only son of Harry and Lois Vestine. His father was a noted physicist who specialized in gravity studies. The Vestine Crater on the Moon had been named posthumously after him. Henry Vestine married twice, first in 1965 and in the mid-1970s to Lisa Lack, with whom he moved to Anderson, South Carolina. In 1980 they had a son, Jesse. In 1983, after they separated, Vestine moved to Oregon.

HenryVestine03Vestine’s love of music and the blues in particular was fostered at an early age when he accompanied his father on canvasses of black neighborhoods for old recordings. Like his father, Henry became an avid collector, eventually owning tens of thousands of recordings of blues, hillbilly, country, and Cajun music. At Henry’s urging, his father also used to take him to blues shows at which he and Henry were often the only white people present. Later Henry was instrumental in the “rediscovery” of Skip James and other Delta musicians.

In the mid-1950s, Henry and his childhood friend from Takoma Park, John Fahey, began to learn how to play guitar and sang a mixed bag of pop, hillbilly, and country music, particularly Hank Williams. Soon after the family moved to California, Henry Vestine joined his first junior high band Hial King and the Newports. On his first acid trip with a close musician friend, he went to an East LA tattoo parlor and got the first of what was to be numerous tattoos: the words “Living The Blues”. Later, in 1969, that became the title of a double album by Canned Heat. By the time he was seventeen he was a regular on the Los Angeles club circuit.

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He became a familiar sight at many black clubs, where he often brought musician friends to turn them on to the blues. Henry became friends with Cajun guitarist Jerry McGhee. It was from him that Henry learned the flat pick and 3-fingerstyle that became so much a part of Henry’s own style. He was an early fan of Roy Buchanan and his favorite guitar players included T-Bone Walker, Johnny “Guitar” Watson, Sonny Sharrock, Freddie King, and Albert Collins. In Canned Heat he was able to play and record with John Lee Hooker whom he had admired since the late 1950s.

Throughout the early to mid-1960s Henry played in various musical configurations and eventually was hired by Frank Zappa for the original Mothers of Invention in late October 1965. Vestine was in the Mothers for only a few months and left before they recorded their debut album. Demo tapes from Mothers of Invention rehearsal sessions featuring Vestine (recorded in November 1965) appear on the Frank Zappa album Joe’s Corsage; posthumously released in 2004.

HenryVestine05His friend Fahey was to be instrumental in the formation of Canned Heat. He had introduced Al Wilson, whom he knew from Boston, to Henry and Bob and Richard Hite. Wilson, Vestine and the Hite brothers formed a jug band that rehearsed at Don Brown’s Jazz Man record Shop. Bob Hite and Alan Wilson started Canned Heat with Kenny Edwards as a second guitarist, but Henry was asked to join. The first notable appearance of the band was the following year when they played at the Monterey Pop Festival. Shortly after Canned Heat’s first album was released, Henry burst into musical prominence as a guitarist who stretched the idiom of the blues with long solos that moved beyond the conventional genres. He had his own style and a trademark piercing treble guitar sound. Vestine missed playing at the Woodstock Festival in 1969, having quit the band the previous week. In 1995, he explained to an Australian reporter that “[a]t the time, it was just another gig. It was too bad I wasn’t there, but I just couldn’t continue with the band at the time.” There had some tension between him and bassist Larry Taylor. When Taylor quit Canned Heat, Vestine returned; their alternating membership in the band was to be repeated a few more times over the years.

HenryVestine02While Canned Heat played at Woodstock in August 1969, Henry was invited to New York City for session work with avant-garde jazz great Albert Ayler. That session work resulted in two releases on the Impulse label.

At the same time he developed an intense interest in Harley Davidson motorcycles. He eventually owned eleven of them. Prior to his death he was looking forward to playing at their 75th Anniversary Celebration. Over the years he had also a close relationship with the Hells Angels.

Through the 1970s gradually Canned Heat had become a part-time occupation with occasional gigs and recordings sessions. When Vestine’s marriage broke up in 1983, he moved to Oregon. There he lived on a farm in rural Summit for a year and then in Corvallis, making a living doing odd jobs and playing music at rodeos and taverns in a country band with Mike Rosso, an old friend from southern California who had also moved to Oregon. He also played with Ramblin’ Rex.

Terry Robb brought Vestine to Portland and they did some recording together. Henry began playing with the Pete Carnes Blues Band and made his way to Eugene when the band folded in the mid-1980s. He played the regional club scene with a number of blues and blues-rock groups including James T. and The Tough. From that band he was to bring James Thornbury to a reconstituted Canned Heat.

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Vestine toured with Canned Heat in Australia and Europe, where the band had a popularity that far surpassed the recognition they got in the United States. When he returned to Eugene he would play with The Vipers, a group of veteran Eugene blues musicians who perform throughout the Northwest. He continued to record including sessions with Oregon bands such as Skip Jones and The Rent Party Band, Terry Robb, and The Vipers. He also recorded the album Guitar Gangster with Evan Johns in Austin.

Vestine had finished a European tour with Canned Heat when he died from heart and respiratory failure in a Paris hotel on the morning of October 20, 1997, just as the band was awaiting return to the United States.

Henry Vestine’s ashes are interred at the Oak Hill Cemetery outside of Eugene, Oregon. A memorial fund has been set up in his name. The fund will be used for maintenance of his resting place at Oak Hill Cemetery and, when it is possible, for conveyance of some of his ashes to the Vestine Crater on the moon, which had been named after his father Ernest Harry Vestine. (by wikipedia)

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And here´s is one of his most powerful recordings featuring Evan Johns,the legendary drummer Jimmy Carl Black and Marcia Ball (on piano only).

This is a tour de force album … enjoy the power and the many sides of the Blues ! Enjoy this gigh energy album !

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The New Roses labels

Personnel:
Marcia Ball (piano)
Jimmy Carl Black (drums)
Mike Buck (drums)
Evan Johns (vocals, guitar)
Mark Kopi (guitar)
Dan McCann (bass)
Henry Vestine (guitar)

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Tracklist:
01. Henry’s Boogie (Vestine/Black/McCann/Johns) 4.31
02. Guitar Pickin’ Fool (Glover/Cee) 2.10
03. Henry Comes To Austin (Vestine/Black/McCann/Johns) 3.54
04. Drunk (Liggins) 5.37
05. Lookin’ Good (Maghett) 2.42
06. I’m A Whore (Vestine/Black/McCann/Johns) 3.42
07. No Phone (Vestine/Black/McCann/Johns) 4.04
08. The Stumble (King/Thomson) 4.20
09. Oh Henry (Vestine/Black/McCann/Johns) 3.37
10. No Care Boogie Ball (Vestine/Black/McCann/Johns) 1.59
11. I Wish Your Picture Was You (Price) 2.36
12. Marty Miss You (Vestine/Black/McCann/Johns) 3.10
13 Six O’Clock (Gross) 1.43
14. Troubles, Troubles (Langlois/Ruffino) 3.04
15. Death Blues (Vestine/Black/McCann/Johns/Korpi) 5.01
16. Henry’s Blues (Vestine/Black/McCann/Johns) 4.41

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Jon Hiseman – About Time Too – Drum Solos (1991)

FrontCover1.jpgThis is a very speical album, recorded by a very special musician … one of the finest jazz-rock drummers in the history of music:

Philip John “Jon” Hiseman (21 June 1944 – 12 June 2018) was an English drummer, recording engineer, record producer, and music publisher.

In the mid-1960s Hiseman played in sessions such as the early Arthur Brown single, “Devil’s Grip”. In 1966 he replaced Ginger Baker in the Graham Bond Organisation and also played for a brief spell with Georgie Fame and the Blue Flames. He then joined John Mayall & the Bluesbreakers in 1968 playing on the iconic album Bare Wires. In April 1968 he left to form what has been described as the “seminal” jazz rock/progressive rock band, Colosseum. Colosseum disbanded in November 1971, although Hiseman later formed Colosseum II with Don Airey and Gary Moore in 1975.

John Hiseman3Between these two versions of Colosseum, Hiseman formed the band Tempest with Allan Holdsworth, Paul Williams and Colosseum bandmate Mark Clarke. Ollie Halsall joined the band temporarily making the band a quintet but Holdsworth left the group along with Williams, leaving Halsall to handle all guitar and vocal duties.

Hiseman subsequently played in jazz groups, notably with his wife, saxophonist Barbara Thompson, with whom he recorded and produced over fifteen albums. Andrew Lloyd Webber, searching for a “sound” for an album to feature his brother Julian on cello, stumbled upon Colosseum II by accident and imported the whole band into his “Variations” project. This was the start of a ten-year relationship with Hiseman, whose drumming features on recordings, TV specials and musicals.

In 1982 Hiseman built what was at the time a state-of-the-art recording studio next to his home, and together with the compositional skills of Barbara Thompson produced many recordings for film and television soundtracks. Hiseman was a founding member of the United Jazz and Rock Ensemble, a German-based “Band of Band Leaders”, along with Barbara Thompson.

John Hiseman4.jpgColosseum reunited in June 1994 with the same line-up of musicians as when they broke up 23 years earlier. They played the Freiburg Zelt Musik Festival and followed it up with a German TV Special (WDR Cologne) in October, which was recorded and released as a CD and a VHS video; a DVD version followed in 2003. Several new studio releases also followed, as well as expanded editions of Valentyne Suite and Colosseum Live, plus several compilation boxed sets.

Barbara Thompson joined the band on various occasions before the death of Dick Heckstall-Smith in 2004 and has been since a permanent member of the band. Colosseum played its farewell concert on the 28th of February in 2015.

In October 2010, a biography of Hiseman, entitled Playing the Band, was published. It was written by Martyn Hanson and edited by original Colosseum manager, Colin Richardson.

In 2017, Hiseman formed a new trio band called JCM. The band recorded an album Heroes late in 2017 and it was released in April 2018. JCM began touring on 7 April 2018.

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In May 2018, Hiseman’s family reported that he was struggling with a brain tumor. He died at age 73 on 12 June 2018 in Sutton, England. He was nine days short of his 74th birthday. (by wikipedia)

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And here´s is his second album with recorded drum solos  …. :

Not everyone’s cup of tea, but I love drums and these are great solos to listen to. (Phil Rolandi)

“My album is very good for parties,” Mr. Hiseman said with a laugh of “About Time Too!” in 2004, “when you want people to go.”

I would stay on this party …

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Personnel:
jon Hiseman (drums)
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Barbara Thompson’s Paraphernalia (on 01., 04. + 05.)
The United Jazz+Rock Ensemble (on 02. + 03.)

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Tracklist:
01. Solo Berlin (The Metropol) (Hiseman) 16.01
02. Ganz schön heiss, Man (Brig) (Mangelsdorff) 4.43
03. Ganz schön heiss, Man (Mannheim) (Mangelsdorff) 10.42
04. Solo Hannover ((The Pavilion) (Hiseman) 8-09
05. Solo Hamburg (The Road To Berlin) 15.26

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Jon Hiseman (21 June 1944 – 12 June 2018)

The English Concert (Trevor Pinnock) – Baroque Christmas Concertos (1991)

FrontCover1.jpgFor people who just can’t bear to listen to another Christmas carol, this is the album. Completely instrumental, this is early music written with Christmas in mind, but it is in no way recognizable as Christmas music. These little heard pieces are brilliantly conducted and performed (as always) by Trevor Pinnock and the English Concert. I heard tracks 5 & 6 on the radio a few weeks before Christmas, when my spirits were suffering an uncharacteristic low, and found myself so completely moved by the beauty them, I had to have thos album. I didn’t know what the other pieces would be like, but they all turned out to be perfection. Each selection is just the right amount of colour and flourish, moving from lovely largos to vivd vivaces without ever leaving the listener reaching to turn the volume down or off. I found the entire “1 hour plus” album thoroughly uplifting and easy to get lost in. And best of all, I finally have an album that expresses musically how I feel about Christmas, that doesn’t irritate anyone (including me).  What more can you ask?! (by The Daily Prophet)

Trevor David Pinnock CBE (born 16 December 1946) is an English harpsichordist and conductor.

He is best known for his association with the period-performance orchestra The English Concert which he helped found and directed from the keyboard for over 30 years in baroque and early classical music. He is a former artistic director of Canada’s National Arts Centre Orchestra and founded The Classical Band in New York.

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Since his resignation from The English Concert in 2003, Pinnock has continued his career as a conductor, appearing with major orchestras and opera companies around the world. He has also performed and recorded as a harpsichordist in solo and chamber music and conducted and otherwise trained student groups at conservatoires. Trevor Pinnock won a Gramophone Award for his recording of Bach’s Brandenburg Concertos with the European Brandenburg Ensemble, an occasional orchestra formed to mark his 60th birthday. (by wikipedia)

Enjoy these Baroque Christmas Concertos, composed in long forgotten centuries !

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Personnel:

The English Concert conducted by Trevor Pinnock):

Rupert Bawden (viola)
Mark Bennett (trumpet)
Julia Bishop (violin)
Mark Caudle (violin)
Paula Chateauneuf (theorbo)
Nicola Cleminson (violin)
Lisa Cochrane (viola)
Jane Coe (cello)
Micaela Comberti (violin)
Graham Cracknell (violin)
Richard Earle (oboe)
Miles Golding (violin)
Paul Goodwin (oboe)
Alberto Grazzi (bassoon)
Peter Hanson (violin)
Michael Harrison (trumpet)
Peter Holtslag (recorder)
Fiona Huggett (violin)
Trevor Jones (viola)
Timothy Kraemer (cello)
Catherine Latham (recorder)
Jaap ter Linden (cello)
Amanda MacNamara (bass)
Rebecca Miles (recorder)
Alastair Mitchell (bassoon)
Diane Moore (violin)
Pauline Nobes (violin)
Trevor Pinnock (harpsichord, organ)
Christopher Poffley (violin)
Walter Reiter (violin)
Anthony Robson (oboe)
Jane Rogers (viola)
Clare Salaman (violin)
Simon Standage (violin)
John Toll (organ)
Frances Turner (violin)
Richard Webb (cello)
Lorraine Wood (oboe)

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Tracklist:

Marc-Antoine Charpentier (1643-1704): Nońls sur instruments, H 531, 534:
01. Vous qui desirez sans fin 2.13
02. A la venue de Noel 0.59
03. Or nous dites, Marie 2.22
04. Ou s’en vont ces gais bergers? 1.33

Johann Melchior Molter (1695-1765): Concerto pastorale in G major
05. Larghetto. Allegro e forte (Larghetto) 4.48
06. Aria 2: Lento e sempre piano 2.01

Antonio Vivaldi (1678-1741): Concerto for 2 Trumpets in C major, RV 537:
07. Allegro 3.12
08. Largo 1.00
09. Allegro 3.13

Giuseppe Sammartini (1695-1750): 
10. Pastorale in G major from Concerto grosso op. 6 – Andante sostenuto 4.14

Georg Philipp Telemann (1681-1767): Concerto polonois in G major
11. Dolce 2.00
12. Allegro 2.05
13. Largo 2.01
14. Allegro 1.34

Georg Friedrich Händel (1685-1759): Concerto a due cori in B flat major, HWV 332;
15. Ouverture 1.42
16. Allegro ma non troppo 2.22
17. Allegro 2.27
18. Largo 2.14
19. A tempo ordinario 1.36
20. Alla breve moderato 1.53
21. Minuet 2.47

Arcangelo Corelli (1653-1713): Concerto grosso in G major, op. 6 no. 8 (“Christmas Concerto”):
22. Vivace Grave. Arcate, sostenuto e come sta 1.31
23. Allegro 2.01
24. Adagio – Allegro – Adagio 3.19
25. Vivace 1.00
26. Allegro 2.05
27. Largo. Pastorale ad libitum 4.07

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TrevorPinnock

Simply Red – Stars (1991)

LPFrontCover1.jpgStars is the fourth album by British-based pop/soul/jazz band Simply Red, released in September 1991. Five singles were released from the album, including the UK top ten hits “Stars” and “For Your Babies”. The album was a worldwide success, particularly in the band’s home country where it has been certified twelve times platinum and was the best-selling album of the year in the UK for both 1991 and 1992, the first album to be the best-seller in two consecutive years since Simon & Garfunkel’s Bridge over Troubled Water in 1970–71. As of July 2016 it is the 14th best-selling album of all time in the UK.

Stars was the first Simply Red album to feature entirely original material and no cover versions, and it was also the last album to feature member Tim Kellett, who started his own band Olive after touring.[citation needed] It is the only Simply Red album to feature Fritz McIntyre singing lead vocals, on the tracks “Something Got Me Started” and “Wonderland”.

The album was on the shortlist of nominees for the 1992 Mercury Prize. In 2000 Q placed Stars at number 80 in its list of “The 100 Greatest British Albums Ever”.

Recording for the album originally began in Paris in August 1990, but the initial sessions did not go well: the equipment in the studio did not live up to expectations, and with the Gulf War having just started and dominating television news reports, the band found the atmosphere in the bunker-like studios oppressive and not conducive to making music. The group moved to the more relaxed surroundings of Venice to resume recording in the Condulmer Studios.

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Simply Red’s leader and singer Mick Hucknall had wanted the album to have a less electronic and more soulful sound than their previous work, and had recruited programmer Gota after hearing his work with Soul II Soul. Hucknall did not realise that Gota was also a drummer until he heard him jamming on the drum kit one evening in Venice, after which Gota also became the band’s full-time drummer. The songs had been written over the previous year: “Something Got Me Started” and “Stars” had been written on the road during the group’s previous tour. “Thrill Me” was based on a riff that McIntyre had come up with, while Hucknall described “Wonderland” as “probably the most political song I’ve written”, documenting his dissatisfaction with the British Conservative government of the time.

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The album cover features a photograph of singer Hucknall in the Californian desert, wearing a Native American painted cloak that he had bought in Spain. Hucknall had insisted that in the shot he would be wearing the cloak and nothing else, displaying his bare legs. However, when photographer Zanna showed the photographs to EastWest Records, they were concerned that Hucknall’s bare legs would offend sensibilities in the US, and Zanna had to digitally retouch the picture using a test photograph of her assistant’s jeans-covered legs. (by wikipedia)

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Although it doesn’t have a single as strong as “Holding Back the Years” or “If You Don’t Know Me by Now,” Stars is Simply Red’s best album since their debut. It’s smoother and more polished than their previous work, yet Mick Hucknall is singing better than ever and his songwriting is improving. That is a good thing, too, since Stars is the first Simply Red album not to contain any cover songs. Having absorbed his pop, soul, and reggae influences, Hucknall is now successfully writing songs in his own style, something that, with the exception of “Holding Back the Years,” he hadn’t managed previously. The result, in Europe and especially the U.K., was a massive commercial breakthrough for the group. Stars even outsold Sgt. Pepper’s Lonely Hearts Club Band at home. In America, where the band had never established much audience continuity beyond its two number one hit singles, it was a different story, which, given the band’s highly American-influenced sound, was a confirmation of the overall decline of English bands in the U.S. in the early ’90s. (by Stephen Thomas Erlewine)

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Personnel:
Gota (drums, percussion, programming)
Mick Hucknall (vocals)
Tim Kellett (keyboards, bass on 07.)
Ian Kirkham (saxophone)
Fritz McIntyre (keyboards, vocals on 01. + 10. background vocals on 09.)
Heitor T P (guitar)
Shaun Ward (bass)
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Jess Bailey (keyboard programming)
Rowetta (background vocals on 09.)

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Tracklist:
01. Something Got Me Started (Hucknall/McIntyre) 4.01
02. Stars (Hucknall) 4.08
03. Thrill Me (Hucknall/McIntyre) 5.04
04. Your Mirror (Hucknall) 3.59
05. She’s Got It Bad (Hucknall) 3.33
06. For Your Babies (Hucknall) 4.17
07. Model (Hucknall) 3.46
08. How Could I Fall (Hucknall) 4.45
09. Freedom (Hucknall) 3.52
10. Wonderland (Hucknall) 3.49

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Big Country – No Place Like Home (1991)

FrontCover1No Place Like Home is the fifth studio album by Scottish band Big Country, released in 1991. (see 1991 in music). Its title derives from a quote in The Wonderful Wizard of Oz, which is referenced by the first track, “We’re Not in Kansas”. Dorothy’s statement was in turn taken from the famous poem and song Home! Sweet Home! by John Howard Payne and Henry Bishop. (by wikipedia)

By 1991, Big Country had decided to ditch the Scottish lilt theme from their sound, seemingly in a quest, not only to evolve from the 1980s music scene, but to make themselves more relevant to the US market. But, as was their mistake with 1988’s `Peace in Our Time’, they chose to work with another unsuitable American producer. Pat Moran had been engineer and producer for big-sounding, overblown prog rock metal outfits like Hawkwind, Budgie, Rush, Lou Gramm (from Foreigner), Led Zeppelin’s Robert Plant and for Dr Feelgood (though, he had also produced a few albums for Iggy Pop as well). But, for The Bigs, his approach did not seem to work very well.

Big Country’s sound, whether Scottish in flavour or not, is a big sound that needs big production. Curiously, given his evident background, Pat Moran does not deliver a big enough, or at least, the right kind of big sound for their music here.

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It is a shame, because practically all the songs on `No Place like Home’ are actually quite good. Setting the tone with the twang of opening track, `We’re Not in Kansas’, the set (practically to the point of cliché) achieves an almost classically American sound – which is curious, given how critical its lyrics are of the US. Maybe that was meant to be irony! The sound, along with the awkward cover art, is also infused with a certain 60s psychedelia. This quality gives it another interesting dimension, even if it is somewhat under-realized.

Most of the tracks are rocky. But the use of cool effects, such as wah wah pedals, in some of the songs, are not strong enough in the mix to truly make them groove. Others wind up sounding a little ho hum. `We’re not in Kansas’, `Republican Party Reptile’, `The Hostage Speaks’, `Beautiful People’ (featuring banjos) and the reflective closing track, `Into the Fire’ are all great. There is even an echo of the soaring exuberance of their former selves on the excellent `Keep on Dreaming’. But the pièce de résistance is definitely `You, Me and the Truth’, an acid-rock imbued ballad which easily sits among the best songs the band ever wrote and recorded.

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Stuart Adamson continued to try and Americanize his accent on this recording, an error that plagued Big Country’s later recordings to varying degrees. He gets away with it here, but unfortunately, it is just another factor that works against real sonic success for this fifth album. Another seems to be drummer Mark Brzezicki’s change from band member to session muso. All in all, though, it is reasonable. (by B. S. Marlay)

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Personnel:
Stuart Adamson (guitar, vocals)
Tony Butler (bass, vocals)
Bruce Watson (guitar, mandolin)
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Pat Ahern (drums on 15.)
Mark Brzezicki (drums, percussion)
Richie Close (piano)
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background vocals:
Katie Kissoon – Carol Kenyon

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Tracklist:
01. We’re Not In Kansas (Adamson) 6.13
02. Republican Party Reptile (Adamson/Watson) 4.02
03. Dynamite Lady (Adamson) 5.36
04. Keep On Dreaming (Adamson)  4:00
05. Beautiful People (Adamson) 5.34
06. The Hostage Speaks (Adamson/Butler/Watson) 5.52
07. Beat The Devil (Adamson) 4.04
08. Leap Of Faith (Adamson) 5.44
09. You, Me And The Truth (Adamson) 5.19
10. Comes A Time (Adamson) 3.54
11. Ships (Adamson/Watson) 4.01
12. Into The Fire (Adamson/Butler/Watson) 5.54
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13. Heart Of The World (Adamson) 3,46
14. Kiss The Girl Goodbye (Adamson) 5.12
15. Freedom Song (Adamson) 4.33

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More Big Country

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Various Artists – A Coltrane Serenade (1991)

FrontCover1.jpgThe Lincoln Center Jazz Orchestra is probably too big and bulky to be considered a tight unit but all the players are individually of distinction. Mainly their program is to highlight and celebrate the giants of jazz from yesteryear. They have performed and recorded music by Ellington, big band swing and numerous others.

To celebrate John Coltrane, the “house band” of Todd Williams, Wynton Marsalis, Marcus Roberts, Christian McBride, Billy Higgins and Wes Andersen are supplemented by guests Joe Henderson, McCoy Tyner and Roy Haynes.

This is a very comfortable way to get into Coltrane as the music here are among his most accessible. Dear Lord is taken at a lounge-y pace, with enough soloing to make this jazz. Coltrane’s explosive, experiential side is gently avoided. The final track Mr Symes is a sweet ballad.

Almost 40 years after his passing, John Coltrane’s best work remains A Love Supreme which hopefully any self-respecting jazz fan has in his collection. (Professor Red)

What a great celebration for Mr. John Coltrane !

Jazz At Lincoln Centre, Alice Tully Hall, New York, August 9, 1991
Excellent braodcast recording

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Personnel:

Tracks 01. – 03.
Wes Andersen (saxophone)
Billy Higgins (drums)
Wynton Marsalis (trumpet)
Christian McBride (bass)
Marcus Roberts (piano)
Todd Williams (saxophone)

Tracks 04. – 05.
Christian McBride (bass)
Roy Haynes (drums)
Joe Henderson (saxophone)
Charles McPherson (saxophone)
McCoy Tyner (piano)
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Reginald Veal (bass on 05.)

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Tracklist:
01. Mr. Day 8.23
02. Miles Mode 8.32
03. Tunji  8.06
04. Dear Lord  7.50
05. Mr Symes/Dahomey Dance  24.37

Music composed by John Coltrane

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